Catch Us If You Can - The Dave Clark Five 1965 - YouTube Catch Us If You Can - The Dave Clark Five 1965 Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Feb 5, 2014 "Catch Us If You Can", by The Dave Clark Five (DC5), was one of the group's top hits. The song reached #4 on the U.S. pop singles chart and #5 on the UK Singles Chart in 1965. The title is said to be a take-off on the 1959 film Catch 'Me' If You Can. The opening four lines with guitar and finger snapping became the song's spontaneous hook, and in the U.S., it remains one of the group's most played tunes on oldies radio stations. The Dave Clark Five, were actually the" first" Brit band to tour the U.S. during the British Invasion, but were "second" to appear on the Ed Sullivan Show after The Beatles.

However, the DC5 appeared 18 times on The Ed Sullivan Show -- the most of any British Invasion group. Inducted into the Rock and Roll Hall of Fame in 2008, the band also had 17 records in the Top 40 on the US Billboard chart. Category Having a Wild Weekend (1965) - IMDb IMDb There was an error trying to load your rating for this title. Some parts of this page won't work property. Please reload or try later. X Beta I'm Watching This! Keep track of everything you watch; tell your friends. Error Having a Wild Weekend ( 1965 ) Catch Us If You Can (original title) 1h 31min Dinah is a model whose face appears in an ad campaign for meat. While shooting a TV commercial, she and Steve, one of the stunt men, run off together. The advertising executives use their ...

See full summary » Director: a list of 606 titles created 28 Feb 2012 a list of 192 titles created 25 Jun 2012 a list of 9996 titles created 26 Jun 2012 a list of 19 titles created 12 Sep 2013 a list of 100 titles created 13 Nov 2013 Title: Having a Wild Weekend (1965) 6.1/10 Want to share IMDb's rating on your own site? Use the HTML below. You must be a registered user to use the IMDb rating plugin. Nominated for 1 BAFTA Film Award. See more awards » Photos Prince Leo, last in the line of rulers of a long-deposed monarchy on continental Europe and jaded with the frenetic search for kicks with the European jet-set, returns to his father's ... See full summary » Director: John Boorman During World War II, an American pilot and a marooned Japanese navy captain are deserted on a small uninhabited island in the Pacific Ocean.

There, they must cease their hostility and cooperate if they want to survive, but will they? Director: John Boorman Stewart McBain (Coleman) is a real-estate mogul who spends his living blowing up old buildings to make room to erect new buildings. All goes as planned for a new subdivision, until a group ... See full summary » Director: John Boorman After a chance encounter, a Dubliner (Gleeson) is stalked by a murderous facsimile of himself. Director: John Boorman The real-life story of Dublin folk hero and criminal Martin Cahill, who pulled off two daring robberies in Ireland with his team, but attracted unwanted attention from the police, the IRA, the UVF and members of his own team. Director: John Boorman Langston Whitfield is a Washington Post journalist. His editor provocatively sends him to South Africa to cover the Truth and Reconciliation Commission hearings, in which the perpetrators ... See full summary » Director: John Boorman Laura is trying to pick up the pieces of her life after the murder of her husband and son, and goes on vacation with her sister to Burma. After losing her passport at a political rally, she...

See full summary » Director: John Boorman After the son of engineer Bill Markham is abducted by an aboriginal tribe on the edge of the rain forest, the engineer spends the next 10 years searching for him. Director: John Boorman After being double-crossed and left for dead, a mysterious man named Walker single-mindedly tries to retrieve the rather inconsequential sum of money that was stolen from him. Director: John Boorman A semi-autobiographical project by John Boorman about a nine year old boy called Bill as he grows up in London during the blitz of World War 2. For a young boy, this time in history was ... See full summary » Director: John Boorman A fast-taking wheeler-dealer corporal in a Malaysian POW camp during WWII uses bribery and larceny to take de facto control of the camp from his senior officers. Director: Bryan Forbes In the distant future, a savage trained only to kill finds a way into the community of bored immortals that alone preserves humanity's achievements. Director: John Boorman Edit Storyline Dinah is a model whose face appears in an ad campaign for meat. While shooting a TV commercial, she and Steve, one of the stunt men, run off together.

The advertising executives use their disappearance to generate more publicity for... meat. Written by George S. Davis April 1965 (UK) See more » Also Known As: Having a Wild Weekend See more » Filming Locations: (London, England) – See all my reviews Recently I bought the DVD of "A Hard Day's Night", and spent a whole weekend watching and re-watching it. You might gather from this that I love the movie, as indeed I do, so what I'm going to say now may very well shock you: "Catch Us If You Can" is a better movie. Of course it wouldn't exist without the pioneering example of "A Hard Day's Night", which changed youth/pop movies for ever, but it really is a better movie. I'm always inclined to see it as the final instalment of an early- to mid-60s trilogy of movies that began with Ken Russell's "French Dressing", and continued with Michael Winner's "The System". (I'm tempted to extend this to a tetralogy, with Richard Lester's "The Knack" as the last instalment.

But, unlike the other movies, "The Knack" was a critical and commercial success - Palme D'Or at Cannes, and all that.) There's a continuity of mood, if not theme, between these movies, a strange mixture of exhilaration and wistfulness. The "phoney" 60s, a sort of hangover of the late 50s, lasted in Britain until about 1962 (although there were intimations of what was to come in Anthony Newley's "The Strange World of Gurney Slade"), but the Satire Boom, followed quickly by the Beatles, ushered in the real 1960s. "Catch Us If You Can" takes a number of audacious risks from the very start: the Dave Clark Five are not a pop group playing themselves, but a team of stuntmen working on a series of TV commercials; their songs are performed off-screen as the soundtrack to the on-screen action; the movie insists strongly on the wintry season in which it was filmed: the frozen milk, the unbearably cold conditions of the meat warehouse, the orange growing safely inside the glass conservatory, the snowy countryside.

There is little of the lightness of mood of "A Hard Day's Night". "Catch Us If You Can", like its saturnine hero, Steve (Dave Clark), is strangely downbeat and melancholy. Not even the kittenish Dinah (Barbara Ferris) is capable of raising Steve's mood of dejection for very long. Absconding from the commercial they are filming, Steve and Dinah make an erratic Pilgrim's Progress across the West Country en route to an island, off the coast of Devon, that Dinah is contemplating buying. On the way they meet a group of proto-hippies (the term would not be in widespread use until the middle of 1966) squatting in abandoned buildings on Salisbury Plain, and a bickering middle-aged couple living in the opulent surroundings of Bath's Royal Crescent. In a sense, all of these people are in flight from the modern world. The ultimate source of Steve's dejection is Leon Zissell, the svengali-like advertising executive, who is quite evidently besotted with Dinah. Zissell casts his shadow wherever the absconding couple might find themselves.

Guy and Nan, the bickering middle-aged couple, seem somewhat sinister at first, but they show themselves to be essentially good-hearted. Both are collectors, and we initially assume that Steve and Dinah are to be added to their collections. Actually, Nan collects old clothes, while Guy collects old phonograph recordings, photographs, etc., ("The pop art of yesteryear"). Anyone viewing "Catch Us If You Can" nearly forty years on will see how it has now been added to Guy's collection itself, a clever and telling touch. (Touching, too.) The Austin Powers movies, funny and clever as they often are, have seriously distorted younger people's perceptions of the 1960s. Amidst all the "grooviness" there was always a quieter, more reflective aspect to the 60s (e.g. "Blow-Up"), and "Catch Us If You Can" captures this. Clear your mind of preconceptions: this movie is NOT a failed attempt at re-making "A Hard Day's Night", but a brilliantly successful attempt to make something quite different - a thoughtful, grown-up film that stands the test of time. 32 of 35 people found this review helpful.

Was this review helpful to you? Yes THE BRITISH INVASION THE BRITISH INVASION Back to table of Contents The British Invasion was, quite simply, one of the watershed developments in American popular music history. The phenomenon involved the virtual domination of AM radio and the record industry in the United States by British artists, particularly the beat groups who had proved adept at recycling the American rhythm and blues and rockabilly songs of the 1950s. The convergence of a number of events set provided the appropriate setting for this onslaught. Perhaps of greatest importance, American rock 'n' roll had been undergoing a steady decline in quality since the major record companies--aided and abetted by other media outlets, most notably Top 40 radio and Dick Clark's "American Bandstand"--had harnessed it and begun releasing a tamer product. The pop hegemony enjoyed by teen idols such as Frankie Avalon and Fabian had driven many youth to commercial folk and jazz, while a seemingly endless stream of novelty songs (e.g., Sheb Wooley's "Purple People Eater," David Seville's "Witch Doctor," Larry Verne's "Mr.

Custer," and Brian Hyland's "Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini") and dance crazes proved unsuccessful in cultivating a substantial core following for rock 'n' roll. In the meantime, the British music scene appeared incapable of producing much more than pale Elvis Presley imitators (e.g., Cliff Richard, Billy Fury, and Marty Wilde) and bland pop along the lines of Mr. Acker Bilk, whose "Stranger on the Shore" (1962) was one of the few British imports to make a substantial dent in the stateside charts prior to 1964. However, the pop underground in Great Britain was quietly brewing something far more potent starting in the mid-1950s. The skiffle music craze (a uniquely English form of folk revival music drawing heavily on American material) led by Lonnie Donegan spurred the baby boomer generation to form their own bands. The most notable of these aggregates--then known by names such as the Quarrymen and the Silver Beatles--would go on to spearhead the British Invasion. It's hard to imagine the invasion taking place without the Beatles.

Many of the bands swept along on the Fab Four's coattails to the top of the American charts possessed no more talent than the bland teen idols they had displaced. The Beatles, however, were another matter. Three of members--the songwriting team of John Lennon and Paul McCartney, and, to a lesser extent, lead guitarist George Harrison--were capable of producing first-rate material. After a brief period of covering American r & b, pop, and country standards, the group went on to compose a long string of rock classics, many of which are likely to be performed for generations to come. The band members were also all excellent musicians, thanks in large part to years spent performing in small clubs in England and Germany. Lennon and McCartney both were superb vocalists, capable of putting across rave-up rockers and introspective ballads in an equally convincing manner. Despite the band's ability--so easy to assess in retrospect-- success in the U.S. might easily have eluded them had not conditions proved ripe for receptiveness on the part of the American public. The Beatles, under the skilled management of Brian Epstein, had attempted a number of times in 1963 to secure a hit record on the American charts.

Songs like "Love Me Do," "From Me to You," "Please Please Me," and "She Loves You"--all hits in the U.K.--had gone nowhere when released by various labels in the states. By late 1963, however, the nation was caught up in communal sense of mourning, brought on by the assassinaton of popular President John F. Kennedy. The Beatles--with their cheeky wit (as evidenced in countless news interviews punctuating the whirlwind visits to the U.S. during the early months of 1964) and catchy, upbeat pop songs--proved to be the perfect anecdote America's collective depression. In addition, the mop-top hairstyle exhibited by the band members garnered considerable attention. As had been the case with Elvis Presley's heavily greased DA hairstyle of the mid-1950s, the Beatles look engendered considered controversy on the part of the adult establishment when it first assaulted the public consciousness. It provided instant credibility with America's youth, who were always in search of culture symbols to both collectively identify with and flaunt in the face of authority figures as an act of rebellion.

Within a matter of weeks in January 1964, catapulted by round-the-clock radio play and appearances on the "Ed Sullivan Show," the Beatles went from complete unknowns to household names in the U.S. With "I Want to Hold Your Hand" perched in the number one position on the Billboard "Hot 100," record companies owning the distribution rights to earlier Beatles hits rushed them back out into the marketplace. At one point in the spring, the band held down all top five positions on the national singles chart. These developments made a substantial impression on the British music scene. British artists of every stripe--from beat groups to purveyers of easy listening fare--were hurriedly signed up by American labels and promoted through the mass media with a vengeance. In the weeks immediately following the appearance of the Beatles, countless other U.K. recording acts--some of whom had realized very little success in their own country--enjoyed heavy radio play and print coverage stateside. The first onslaught of British performers to achieve success on the American charts included Dusty Springfield, the Dave Clark Five, the Searchers, Billy J. Kramer, and Peter and Gordon.

Perhaps of even greater importance, countless other British youths were inspired to become musicians, resulting in a steady stream of talent which, many would argue, has remain undiminished to the present day. By early summer the floodgates had burst open; there seemed to be more British artists than American on the airwaves. Indeed, a considerable number of established U.S. acts--to say nothing of the more marginal recording artists--virtually disappeared from the charts in 1964 (some never to return). Stars suddenly thrust into the periphery of record industry included Dion, Fats Domino, Rick Nelson, Neil Sedaka, Connie Francis, Brenda Lee, Roy Orbison, the Everly Brothers, and Chubby Checker. Even Presley's career was sent into a tailspin. After eight years of uninterrupted success, he enjoyed only one top ten hit ("Crying in the Chapel"; which charted in 1965 but was recorded in 1960) prior to his revival in 1969 with "In the Ghetto" and "Suspicious Minds." Only a handful of American artists continued to thrive in 1964 and beyond, most notably the Beach Boys and the Four Seasons.

New homegrown talent found it necessary to incorporate elements of the merseybeat sound such as the trademark jangly guitars and seamless three-part vocal harmonies. The garage punk and folk rock movements were particularly influenced by English rock bands. Some American groups--for example, Beau Brummels and the Sir Douglas Quintet in 1965--found it expedient to ape the British Invasion look to the extent of carefully covering up their native origins. Probably the most positive result of the British Invasion was its role in clearing away the musical deadwood which had found a home on the American charts. With many of the long established American acts--as well as countless lesser luminaries--unable to compete with the host of often lackluster British stars, fresh stateside talent was more readily able to garner the attention of record company executive. Within a year or two of the initial British onslaught, a new wave of American musicians had already laid the groundwork for the creative renaissance in popular music during the latter half of the 1960s.

Top Artists and Their Hit Recordings The First Wave The Animals(, Eric Burdon and the)--"The House of the Rising Sun" (1964); "See See Rider" (1966); "San Franciscan Nights" (1967) The Beatles--"I Want to Hold Your Hand" (#1; 1964); "She Loves You" (#1; 1964); "Please Please Me" (1964); "Twist and Shout" (1964); "Can't Buy Me Love" (#1; 1964); "Do You Want to Know a Secret" (1964); "Love Me Do" (#1; 1964); "P.S.

I Love You" (1964); "A Hard Day's Night" (#1; 1964); "I Feel Fine" (#1; 1964); "She's a Woman" (1964); "Eight Days a Week" (#1; 1965); "Ticket to Ride" #1; (1965); "Help!" (#1; 1965); "Yesterday" (#1; 1965); Rubber Soul (1965); "We Can Work It Out" (#1; 1966); "Day Tripper" (1966); "Nowhere Man" (1966); "Paperback Writer" (#1; 1966); Revolver (1966); "Yellow Submarine" (1966); "Penny Lane" (#1; 1967); "Strawberry Fields Forever" (1967); Sgt.

Pepper's Lonely Hearts Club Band (1967); "All You Need Is Love" (#1; 1967); "Hello Goodbye" (#1; 1967); "Lady Madonna" (1968); The White Album (1968); "Hey Jude" (#1; 1968); "Get Back" (#1; 1969); Abbey Road (1969); "The Ballad of John and Yoko" (1969); "Come Together" (#1; 1969); "Something" (1969); "Let It Be" (#1; 1970); "The Long and Winding Road" (#1; 1970) Chad and Jeremy--"A Summer Song" (1964) The Dave Clark Five--"Glad All Over" (1964); "Bits and Pieces" (1964); "Can't You See That She's Mine" (1964); "Because" (1964); "I Like It Like That" (1965); "Catch Us If You Can" (19

65); "Over and Over" (#1; 1965); "You Got What It Takes" (1967) Petula Clark--"Downtown" (#1; 1965); "I Know a Place" (1965); "My Love" (1966); "I Couldn't Live Without Your Love" (1966); "This Is My Song" (1967); "Don't Sleep in the Subway" (1967) Freddie and the Dreamers--"I'm Telling You Now" (1965); "Do the Freddie" (1965) Gerry & the Pacemakers--"Don't Let the Sun Catch You Crying" (1964); "How Do You Do It?" (1964); "Ferry Cross the Mersey" (1965) Herman's Hermits--"Can't You Hear My Heartbeat" (1965); "Silhouettes" (1965); "Mrs.

Brown You've Got a Lovely Daughter" (1965); "Wonderful World" (1965); "I'm Henry III, I Am" (1965); "Just a Little Bit Better" (1965); "A Must to Avoid" (1966); "Listen People" (1966); "Leaning on the Lamp Post" (1966); "Dandy" (1966); "There's a Kind of a Hush" (1967) The Hollies--"Look Through Any Window" (1965); "Bus Stop" (1966); "Stop Stop Stop" (1966); "Carrie-Anne" (1967); He Ain't Heavy, He's My Brother" (1969); "Long Cool Woman" (1972); "The Air That I Breathe" (1974) The Honeycombs--"Have I the Right?" (1964) The Kinks--"You Really Got Me" (1964); "All Day and All of the Night" (1965); "T

ired of Waiting For You" (1965); "Lola" (1970) Billy J.

Kramer with the Dakotas--"Little Children" (1964); "Bad to Me" (1964) Lulu (& the Lovers)--"Shout" (1964); "To Sir With Love" (1967) Manfred Mann--"Do Wah Diddy Diddy" (#1; 1964); "Mighty Quinn" (1968) The Mindbenders(, Wayne Fontana and the)--"Game of Love" (1965); "A Groovy Kind of Love" (1966) The Moody Blues--"Go Now!" (1965); Days of Future Passed (1967); In Search of the Lost Chord (1968); On the Threshold of a Dream (1969); To Our Children's Children's Children (1970); A Question of Balance (1970); Every Good Boy Deserves Favour (1971); Seventh Sojourn (1972) The Nashville Teens--"Tobacco Road" (1964) Peter and Gordon--"A World Without Love" (1964); "I

 Go To Pieces" (1965); "Lady Godiva" (1966) The Rolling Stones--"Time Is On My Side" (1964); "The Last Time" (1965); "(I Can't Get No) Satisfaction" (#1; 1965); "Get Off Of My Cloud" (#1; 1965); "As Tears Go By" (1965); "19th Nervous Breakdown" (1966); "Paint It, Black" (#1; 1966); "Mother's Little Helper" (1966); "Have You Seen Your Mother, Baby, Standing in the Shadow?" (1966); "Ruby Tuesday" (#1; 1967); "Jumpin' Jack Flash" (1968); "Honky Tonk Women" (#1; 1969); "Brown Sugar" (#1; 1971); "Tumbling Dice" (1972); "Angie" (#1; 1973); "Miss You" (#1; 1978); "Start Me Up" (

1981) The Searchers--"Needles and Pins" (1964); "Love Potion Number Nine" (1965) Dusty Springfield--"Wishin' and Hopin'" (1964); "You Don't Have to Say You Love Me" (1966); "Son of a Preacher Man" (1969) The Swingin' Bluejeans--"Hippy Hippy Shake" (1964) Them--"Here Comes the Night" (1965); "Gloria" (1966) Whitcomb, Ian--"You Turn Me On" (1965) The Who--"My Generation" (1965); "I Can See For Miles" (1967); Tommy (1969), Live at Leeds (1970); Who's Next (1971); Quadrophenia (1973) The Yardbirds--"For Your Love" (1965); "Heart Full of Soul" (1965); "I'm a Man" (1965); "Shapes of Things" (1966

); "Over Under Sideways Down" (1966) The Zombies--"She's Not There" (1964); "Tell Her No" (1965); "Time of the Season" (1969) The Second Wave Bee Gees--"New York Mining Disaster 1941" (1967); "To Love Somebody" (1967); "Holiday" (1967); "Massachusetts" (1967); "I've Gotta Get a Message to You" (1968); "I Started a Joke" (1968); "Lonely Days" (1970); "How Can You Mend a Broken Heart" (#1; 1971); "Jive Talkin'" (#1; 1975); "Nights on Broadway" (1975); "You Should Be Dancing" (#1; 1976); "Love So Right" (1976); "How Deep Is Your Love" (#1; 1977); "Stayin' Alive" (#1; 1978); "Night Fever" (#1;

 1978); "Too Much Heaven" (#1; 1978); "Tragedy" (#1; 1979); "Love You Inside Out" (#1; 1979) Blind Faith--Blind Faith (1969) Joe Cocker--With a Little Help From My Friends (1969); Joe Cocker (1969); Mad Dogs & Englishmen (1970) Cream--Fresh Cream (1967); Disraeli Gears (1967); Wheels of Fire (1968); Goodbye (1969) Deep Purple--"Hush" (1968); "Kentucky Woman" (1968); "Smoke on the Water" (1973) Free--"All Right Now" (1970); Fire and Water (1970); Highway (1971) Jethro Tull--Stand Up (1969); Benefit (1970); Aqualung (1971); Thick as a Brick (1972); Living in the Past (1972); A Passion Play (1

973); War Child (1974) John, Elton--Elton John (1970); Tumbleweed Connection (1971); Madman Across the Water (1971); Honky Chateau (1972); Don't Shoot Me I'm Only the Piano Player (1973); Goodbye Yellow Brick Road (1973); Caribou (1974); Captain Fantastic and the Brown Dirt Cowboy (1975); Rock of the Westies (1975) Van Morrison--"Brown-Eyed Girl" (1967); Astral Weeks (1969); Moondance (1970); His Band and the Street Choir (1971); Tupelo Honey (1971); Saint Dominic's Preview (1972) Mott the Hoople--Moot the Hoople (1970); All the Young Dudes (1972); Mott (1973); The Hoople (1974) The Move--Shazam!

(1969); Message From the Country (1971) Pink Floyd--Piper at the Gates of Dawn (1967); Ummagumma (1969); Atom Heart Mother (1970); The Dark Side of the Moon (1973); Wish You Were Here (1975); Animals (1977); The Wall (1979); The Final Cut (1983); A Momentary Lapse of Reason (1987) Procol Harum--"A Whiter Shade of Pale" (1967); Shine on Brightly (1968); A Salty Dog (1969); Home (1970); Broken Barricades (1971); Live in Concert with the Edmonton Symphony Orchestra (1972) Spooky Tooth--Spooky Two (1969); The Last Puff (1970) The Status Quo--"Pictures of Matchstick Men" (1968) Traffic--Mr.

Fantasy (1968); Traffic (1968); Last Exit (1969); John Barleycorn Must Die (1970); The Low Spark of High Heeled Boys (1971); Shoot Out at the Fantasy Factory (1973) The Troggs--"Wild Thing" (#1; 1966); "Love Is All Around" (1968) The Third Wave Bad Company--"Can't Get Enough" (1974); "Feel Like Makin' Love" (1975) Electric Light Orchestra--Electric Light Orchestra II (1973); On the Third Day (1973); Eldorado (1974); Face the Music (1975); A New World Record (1976); Out of the Blue (1977); Discovery (1979); Xanadu (with Olivia Newton-John; 1980) Emerson, Lake & Palmer--Emerson, Lake & Palmer (1971); Tarkus (1971); Pictures at an Exhibition (1972); Trilogy (1972) Stealers Wheel--

"Stuck in the Middle with You" (1973) 10cc--"I'm Not in Love" (1975); "The Things We Do For Love" (1977) Thin Lizzy--Jailbreak (1976) Wings(, Paul McCartney and)--"Another Day" (1971); "Uncle Albert/Admiral Halsey" (1971); "My Love" (1973); "Live and Let Die" (1973); "Jet" (1974); "Band on the Run" (1974); "Junior's Farm" (1975); "Listen to What the Man Said" (1975); "Silly Love Songs" (1976); "Let 'Em In" (1976); "With a Little Luck" (1978) Yes--Fragile (1972); Close to the Edge (1972); Tales From Topographic Oceans (1973); Relayer (1974) The History of the Dave Clark Five "I Like It Like That" "You

 Got What It Takes" Where you might have heard them "Glad All Over" was featured in the 2006 comedy Garfield 2: A Tale of Two Kitties, and "Catch Us If You Can" is featured in the 1990 sequel Look Who's Talking Too, sung by sperm as they fertilize an egg.

No, really. Formed: Styles Rock and Roll, Pop, Pop-rock, British invasion The classic Dave Clark Five lineup: Dave Clark (b. continue reading below our video Highest Paid Female Actors Ever David Clark, December 15, 1942, Tottenham, London, England): drums Mike Smith (b. Michael George Smith, December 6, 1943, Edmonton, North London, England; died February 28, 2008, Aylesbury, Buckinghamshire, England): vocals, organ Lenny Davidson (b. Leonard Arthur Davidson, May 30, 1944, Enfield, London, England): lead guitar Rick Huxley (b. Richard Huxley, August 5, 1942, Dartford, Kent, England); died February 11, 2013, Old Harlow, Essex, England): bass Denny Payton (b. Denis West Payton, August 11, 1943, Walthamstow, London, England; d.

December 17, 2006, Bournemouth, Dorset, England): rhythm guitar, harmonica, saxophone Claims to fame: Led the second wave of the Sixties' "British Invasion," after the Beatles The first British rock band to tour the US Cultivated a "cleaner" image than even the Beatles had, yet created an arguably harder sound Drummer Dave Clark was the first prominent rock drummer to lead his own band, as well as the first to manage his own band, and one of the first musicians to produce his own band One of the first UK bands to base their sound around drums as opposed to guitar, and to write its own material Appeared on the Ed Sullivan Show more often than any other band One of the first and most successful bands to cross over into movies History Early years The DC5 began life as a side project, a way for Clark to raise money for his soccer team; although not a musician, he bought a set of drums, taught himself to play them, and formed a band, which soon found a steady gig backing up singer Stan Saxon in a North London club.

Soon they were signed to Britain's Pye Records, and even enjoyed a small hit with their cover of the Contours' "Do You Love Me." But their next single, the original "Glad All Over," hit big, knocking the Beatles' "I Want To Hold Your Hand" out of the top spot in their native country. Clark's primitive, self-produced tribal drum sound was a smash. Success Soon, the group was getting airplay in the States, thanks to promoters looking for the logical followup to the Beatles. But the "Tottenham Sound" of the DC5 was harder and more raucous than the "Merseybeat" sound of the Beatles, Gerry and the Pacemakers, The Swinging Blue Jeans, etc. Clark, a natural businessman, managed and produced his own band, and made several smart business decisions which ensured the group would hang on to the money it made. Before the Stones, Kinks, and Who arrived in 1965, the Dave Clark Five were considered the Beatles' chief British Invasion rival, scoring 15 top 20 hits in three years.

Later years Although Clark and company tried to shift with the changing cultural tide in the late Sixties, they met with little success, being forever tagged as a teenyboppers' group. After some success in the nascent "oldies revival" trend, they called it quits in 1970. Original member Denis Payton died in 2006; on October 15th, 2003, Mike Smith was horribly injured while climbing a fence on his property in Spain, falling and leaving himself permanently paralyzed in both legs and one arm. He succumbed to complications from his injuries in 2008. More About the Dave Clark Five Dave Clark Five facts and trivia: Clark actually started out as a movie stuntman Sold out 12 shows at Carnegie Hall in three days "Bits and Pieces" created such stomping from crowds live that it was often banned from performance "Over and Over" was originally performed by Bobby Day as the b-side of his hit "Rockin' Robin" Clark owns the rights to the legendary British TV pop series Ready Steady Go!

The very successful London musical Time (1986) was written by Clark Mike Smith went on to produce several successful artists, including Shirley Bassey Session drummer Bobby Graham has claimed he, not Clark, played drums on the DC5's hits; this has been disputed Dave Clark Five hit singles and albums: #1 hits: Pop "Over And Over" (1965) Top 10 hits: Pop "Glad All Over" (1964), "Because" (1964), "Bits And Pieces" (1964), "Can't You See That She's Mine" (1964), "Catch Us If You Can" (1965), "I Like It Like That" (1965), "You Got What It Takes" (1967) Top 10 albums: Pop Glad All Over (1964), The Dave Clark Five Return!

(1964), Coast To Coast (1965), The Dave Clark Five's Greatest Hits (1965) Famous covers KISS and the Ramones have both covered "Any Way You Want It" it concert, while Joan Jett rocked out her take on "Bits and Pieces" on I Love Rock N' Roll album; the Supremes also covered "Because" on their 1964 theme album A Bit of Liverpool (the DC5 were not from Liverpool) Movies and TV The Dave Clark Five made a splash with their cameo in the British musical comedy Young, Willing and Eager, and it eventually led to their own 1965 Hard Day's Night-style romp called Catch Us If You Can (in the US it was titled Having a Wild Weekend); they later attempted an abortive try at their own TV variety series with "Hold On, It's the Dave Clark Five!" Clark also had a cameo of his own in the 1983 horror film The Being John Boorman | British director | Britannica.com British director John Boorman, (born January 18, 1933, Shepperton, Middlesex [now Surrey], England ), British director who was one

 of the most distinctive stylists of his generation.

John Boorman during the filming of The Emerald Forest (1985). © 1985 Embassy Pictures Corporation Boorman began writing film reviews while a teenager. After a stint in the British military, he moved to television in 1955, editing and filming documentaries. He joined the BBC a few years later, rising to the head of their documentary division by 1962. He had great critical success with his series of documentaries Citizen 63, which describe what the British citizen in 1963 was really like, rather than how he described himself. In 1964 Boorman directed The Newcomers, a popular six-part study of a couple from Bristol. Boorman’s first feature film, Catch Us If You Can (1965; also known as Having a Wild Weekend), followed the British rock group the Dave Clark Five through Bristol, using the cityscape as backdrop. Although inspired by the Beatles ’ A Hard Day’s Night (1964), it highlighted the director’s innovative style. With his next film, Point Blank (1967), Boorman employed elements of the French New Wave , notably jump cuts and a fractured narrative.

The gangster drama starred Lee Marvin as a small-time criminal out for revenge against his wife (played by Angie Dickinson ) and the syndicate that left him for dead. Considered a minor genre release at the time, it later became a cult favourite, hailed as a paradigm of nihilistic violence. Marvin returned for Hell in the Pacific (1968), a World War II drama that portrayed the antagonism and mutual dependence of two men, an American soldier and a Japanese soldier ( Mifune Toshirō ), who are marooned on a Pacific island. Leo the Last (1970) was a quirky philosophical tale about an exiled monarch (Marcello Mastroianni) who returns to his family’s London home and finds the surrounding area has become impoverished. Although initially self-absorbed, he slowly becomes involved in the lives of his neighbours. The dramedy won Boorman the best director prize at the Cannes film festival , though it was not a commercial success. Angie Dickinson and Lee Marvin in Point Blank (1967), directed by John … KPA/Heritage-Images/Imagestate In 1972 Boorman directed Deliverance, arguably his best-known work.

Adapted by James Dickey from his 1970 novel, it tells the story of four businessmen—played by Burt Reynolds, Jon Voight , Ronny Cox, and Ned Beatty—whose weekend canoe trip down a Georgia river turns into a nightmare as they battle both nature and the locals. Despite some controversy—the film features a brutal scene in which one of the male characters is raped and ordered to “squeal like a pig”—Deliverance was a major box-office hit and is widely considered a classic. It received an Academy Award nomination for best picture, and Boorman earned his first Oscar nod for directing . He had less success with his next films, however. The science-fiction drama Zardoz (1974), with Sean Connery and Charlotte Rampling, was long on stunning visuals but short on logic. The horror thriller Exorcist II: The Heretic (1977), a sequel to the blockbuster hit The Exorcist (1973), was widely panned, though it later developed a cult following.

Burt Reynolds (left) and Jon Voight in Deliverance (1972), directed by … © 1972 Warner Brothers, Inc.; photograph from a private collection Britannica Stories Ringling Bros. Folds Its Tent Turning to Arthurian legend , Boorman found commercial and critical success with Excalibur (1981), an ambitious production that featured breathtaking cinematography and a top-notch cast: Nicol Williamson , Patrick Stewart , Helen Mirren , and Liam Neeson . Just as visually distinctive—and oddly mystical—was The Emerald Forest (1985), the story of a boy (Charley Boorman, John’s son, in a strong performance) who is kidnapped and raised by an Amazonian tribe until his father (Powers Boothe) finds him after a 10-year search. The film was inspired by a true story. Boorman left primeval nature for Hope and Glory (1987), a semiautobiographical story about a boy growing up in London during the air raids of World War II. He earned an Academy Award nomination for directing and another for his screenplay; the movie also received a best-picture nod.

You Can’t Handle the Truth: Famous Movie Quotes After several forgettable films, including the comedy Where the Heart Is (1990) and the political thriller Beyond Rangoon (1995), Boorman wrote and directed The General (1998), a biopic about the legendary Irish criminal Martin Cahill, portrayed by Brendan Gleeson; Voight was cast as the policeman who has sworn to bring him to justice . The acclaimed crime drama earned Boorman another best director award from Cannes. He next helmed The Tailor of Panama (2001), a well-received adaptation of John le Carré ’s best-selling espionage thriller. Pierce Brosnan was effective as a British operative who is sent to Panama only to become embroiled with an untrustworthy source of local intelligence ( Geoffrey Rush ). Boorman’s later credits include In My Country (2004), a well-intentioned drama about the consequences of apartheid in South Africa , and The Tiger’s Tail (2006), with Gleeson well cast as a driven Irish businessman whose ruthless real-estate dealings begin to take their toll on his sanity.

Obituary: Mike Smith | Music | The Guardian The Guardian Share on Messenger Close There was a fleeting time, from late 1963 into 1965, when serious comparisons were made between the Dave Clark Five and the Beatles. Indeed, in the US the Dave Clark Five was billed as the group which had, in January 1964, toppled the Beatles - after seven weeks - from the top of the British charts. Headlines such as "Has The Five Jive Crushed The Beatle Beat?" ensued. The Dave Clark Five made number one with Glad All Over, co-written by Clark, the band's drummer, and organist and singer Mike Smith. Clark may have been the band's nominal leader but Smith, who has died aged 64 of pneumonia, following a 2003 spinal cord injury, was as much its public face. Their follow-up single, Bits and Pieces, was almost as successful, and an EP (following the Beatles' success with their Twist and Shout EP) edged close to the Top 20. Next came an album, Session With the Dave Clark Five, with a diversity that acknowledged folk and jazz - and cinema interlude muzak.

By 1965, the Five were appearing on the Royal Variety Show. But their greater renown came in the US, where they featured 12 times on the Ed Sullivan Show and enjoyed highly successful tours. In Seattle, Smith suffered broken ribs when mobbed after a performance. In Britain that year Over and Over barely scraped the top 50; in the US it sold a million. And then there was the movie. But while the release of the Beatles' A Hard Day's Night (1964), directed by Dick Lester, was flawlessly timed to catch the historical moment, the Dave Clark Five's Catch Us If You Can (1965) was too late. It marked the debut of a distinguished director, John Boorman, and it was scripted by Peter Nichols, but this was not enough. Smith recalled that Boorman, concerned about Smith's north London accent, "gave me two bits of cotton wool to stick in my ears. What happens then is you speak louder and pronounce your words better. I did the whole bloody film with cotton wool in my ears." That summer the single from the film peaked at number five. Smith was an only child, born in Edmonton.

His musical aspirations had been encouraged by his father, George, who played keyboards in pubs. Through his father he began playing classical piano, and by the age of 13 he, too, was working in local pubs. A talented footballer, he first met Clark at a local youth club. After leaving school, Smith became a debt collector, and played in a local rock band, the Impalas. In 1961, while performing at an Enfield hotel he was invited to join the Dave Clark Five, founded by the sometime film stuntman Clark in the late 1950s. When saxophonist-cum-singer Stan Saxon left in 1962, Smith took over as lead vocalist. The Beatles had the Cavern, the Dave Clark Five had Tottenham Royal ballroom, and in the style of the time, matching suits and haircuts, a fixed programme - and onstage continuity left to Smith. Pandemonium and crash barriers often ensued.

"The police station opposite," Smith recalled, "used to get leave cancelled whenever we were on." Their first singles sold poorly, and the fourth, Do You Love Me, a cover of the original by the US group, the Contours, lost out to Brian Poole and the Tremeloes' version. The came Glad All Over. As the 1960s moved on the Dave Clark Five, unlike the Beatles, increasingly became an anachronism. Everybody Knows (1967), a ballad, made number two in Britain, and Red Balloon (1968) number seven, as did Good Old Rock'n' Roll (1969). Everybody Get Together (1970) was their last top 10 hit - and was followed by their dissolution. Smith and Clark continued as Dave Clark and Friends for a couple more years. In 1974 Smith's Old Enough to Know Better was recorded by Clark's Australian protege, John Christie.

In 1975 Smith and the former Manfred Mann singer Michael d'Abo recorded an album together, and Smith then worked as a session musician - notably on the original 1976 album of Andrew Lloyd Webber and Tim Rice's Evita. Later Smith created advertising jingles and television themes and, in 1990, released his only solo album, It's Only Rock'N'Roll. This largely featured unambitious recreations of the numbers that had got the Dave Clark Five through those dance-hall nights a generation earlier. Three years later Glad All Over, re-issued as a tie-in with a Dave Clark Five CD, entered the top 50. Next month Smith and the rest of the band were to be inducted into the American Rock and Roll Hall of Fame. He is survived by his wife Arlene - "Charlie" - a former Miss Indiana, whom he met while on tour in California in 1964.

· Michael George Smith, musician, born December 12 1943; died February 29 2008 The Dave Clark Five - Bits And Pieces - Full Album - YouTube The Dave Clark Five - Bits And Pieces - Full Album Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Published on Apr 7, 2016 Glad All Over 00:00:00 ,00 All Of The Time 00:02:40 ,22 Do You Love Me 00:09:03 ,18 Bits And Pieces 00:11:46 ,03 I Know You 00:13:42 ,24 No Time To Lose 00:15:40 ,06 Doo Dah 00:17:39 ,03 Time 00:19:47 ,17 She's All Min 00:22:08 ,11 The Dave Clark Five (also known as "The DC5") was an English pop rock group. They were the second group of the British Invasion on The Ed Sullivan Show, appearing in March for two weeks after the Beatles appeared three straight weeks in February 1964. For some time the Dave Clark Five was more popular in the US than in their native UK, but had a renaissance in the UK between 1967 and 1970.

The Dave Clark Five had 17 records in the Top 40 of the US Billboard chart and 12 Top 40 hits in their native UK between 1964 and 1967. Their song "Over And Over" went to number one in the US on the Billboard Hot 100 on Christmas Day 1965, despite less impressive sales in the UK (it peaked at number 45 on the UK Singles Chart), and they played to sell-out crowds on their tours of the U.S. The Dave Clark Five was the first British band of the British Invasion to tour the US, and they made 18 appearances on The Ed Sullivan Show – the most of any British Invasion group. The Dave Clark Five had 17 records in the Top 40 of the US Billboard chart and 12 Top 40 hits in their native UK between 1964 and 1967.

Their song "Over And Over" went to number one in the US on the Billboard Hot 100 on Christmas Day 1965, despite less impressive sales in the UK (it peaked at number 45 on the UK Singles Chart), and they played to sell-out crowds on their tours of the U.S. Category

Question: Which British pop group appeared in the 1965 film 'Catch Us If You Can'?
Answer: DAVE CLARK FIVE